are more ciphers than masterful creations. Entertainment Weekly said, 'With its rumble jumble of drumbeats, peppered with occasional piano plunking, Enter has a raw, pass-the-mike flavor we haven't heard since rap was pop's best-kept secret.' Touré was less enthusiastic in Rolling Stone, praising the album's sound, but noting that 'Wu-Tang. For B-boys n'girls who come from the core of the hard, this is the hip-hop album you've been waiting for'.
In an article for The Source, The Ghetto Communicator wrote 'This record is harsh, but so is the world that we live in.
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Touré wrote in his 1993 Rolling Stone review that 'in Brooklyn, N.Y., right now and extending back a few months, the reigning fave is the Wu-Tang Clan, who are to the channel what Guns N' Roses are to MTV.' Critical reception Professional ratingsĮnter the Wu-Tang (36 Chambers) was received positively by contemporary critics. The videos received almost no airplay on MTV but were extremely popular on video-by-request channels such as The Box.
As the group's profile increased, the quality of their videos improved though the 'Protect Ya Neck' video resembled a home movie, later videos were directed by rising hip-hop music video director Hype Williams. The group made music videos for the three A-sides and for 'Method Man', 'Da Mystery of Chessboxin', and 'Wu-Tang Clan Ain't Nuthing ta Fuck Wit'. Every track on Enter the Wu-Tang is packed with fresh, inventive rhymes, which are filled with martial arts metaphors, pop culture references (everything from Voltron to Lucky Charms cereal commercials to Barbra Streisand's 'The Way We Were'), bizarre threats of violence, and a truly twisted sense of humor.' AllMusic contributor Steve Huey praises the lyricists for their originality and caustic humor, stating 'Some were outsized, theatrical personalities, others were cerebral storytellers and lyrical technicians, but each had his own distinctive style. The lyrics have a universally dark tone and seem at times to be simply aggressive cries. Rolling Stone described the album as possessing an aesthetic that was 'low on hype and production values high on the idea that indigence is a central part of blackness.' While the lyrical content on Enter the Wu-Tang generally varies from rapper to rapper, the basic themes are the same-urban life, martial arts movies, comic book references, and marijuana-and the setting is invariably the harsh environment of New York City. The album's explicit, humorous and free-associative lyrics have been credited for serving as a template for many subsequent hip hop records. 'Because didn't have the best mixing or recording equipment, the album is wrought with a 'dirty' quality-the drums have more bass and are more hard-hitting than they are crisp and clean the samples have an eerie, almost haunting type of echo and the vocals, because each member's voice is already aggressive and gritty, perfectly match the production.' Although Ol' Dirty Bastard is given co-production credit on 'Da Mystery of Chessboxin' and Method Man is co-credited for 'Wu-Tang Clan Ain't Nuthing ta F' Wit,' critics and admirers universally credit RZA with developing what Pitchfork called a 'dusty yet digital production style helped legitimize the use of more diverse sample sources to the hardcore New York rap massive, breaking away from James Brown based beats and embracing a style that turned the Underdog theme into the menacing coda for a group of underground terrorists.' Įnter the Wu-Tang ushered in a new standard for hip-hop at a time when hip hop music was dominated by the jazz-influenced styles of A Tribe Called Quest, the Afrocentric viewpoints of Public Enemy, and the rising popularity of West Coastgangsta rap. When they dropped me, I was thinking, 'Damn, they chose a bunch of whiteboy shit over me.' Īccording to music journalist Ben Yew, the minimalist means of production plays directly into the music's 'street' aesthetic.
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RZA discussed the matter in their release The Wu-Tang Manual (2005), stating ' made the decision to sign House of Pain over us. Embittered but unbowed, they took on new monikers (The Genius became GZA while Prince Rakeem became RZA) and refocused their efforts. The Genius released Words from the Genius (1991) on Cold Chillin' Records and Prince Rakeem released Ooh I Love You Rakeem (1991) on Tommy Boy Records. By 1991, The Genius and Prince Rakeem were signed to separate record labels. The group never signed to a major label, but caught the attention of the New York rap scene and was recognized by rapper Biz Markie. Each member recorded under an alias: Grice as The Genius, Diggs as Prince Rakeem or The Scientist, and Jones as The Specialist.
In the late 1980s, cousins Robert Diggs, Gary Grice, and Russell Jones formed a group named Force of the Imperial Master, also known as the All in Together Now Crew.
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